"Jerry Kohl" <***@comcast.net> wrote in message news:***@comcast.net...
| Robert John Guttke wrote:
| > > I cannot for my part express an opinion of these works, since I have
| > > heard them (in fact, I had not heard the composer's very name until
| > > thread), but disagreement of this sort does tend to pique my
| > > Perhaps I should have a listen.
| > Tveitt is an exciting discovery, thus I can only hope you can find the
| > joy in his beautiful music.
| [snip passionate advocacy]
| OK, OK! You've convinced me! I *must* have a listen, then.
The Troll-tunes (Nos. 61-75) I find very exciting, and beautifully
orchestrated and nominated as Suite No.5, coupled with the Suite No.2 (15
Mountain Songs). The notes show Tveitt in his Norwegian home playing the
Langeleik. Yes, I know, you don't know what a Langeleik is, but there is so
much to learn <g>
The other Suites No.1 and No.4 (Wedding suite), on another CD, are quite
lovely too, and all the suites are drawn from tunes gathered in the
Hardanger region of Norway. Suite No.3 unfortunately, so I believe, got lost
in the fire.
I'm going to listen to all my Tveitt in the next few days, including the
piano concertos. For myself I find myself preferring the orchestral suites,
but more seem to prefer the concertos.
To whet anyone's appetite, or even possibly scare them off, to be heard late
at night, ALONE, consider the small snippet below from the notes on the
EXTRACT of notes by David Gallagher
.... they reflect the linked lives of the "underjordiske" and Hardanger
people. The "huldre", too, in their parallel dimension, have their
transhumanance, driving their shining cattle to summer farms; they sing soft
lullabies to their children; they celebrate huge Hardanger weddings, and are
so groggy the next morning that a fiddler has to wake them for the "nøring",
the wedding breakfast. Then comes what Tveitt, with (personal?) feeling,
called the "Tragedy" of 'The changling', the folk tradition that "someone
who's 'different', who walks their own path, really comes from another
world. That the "underjordiske" took the human being who was 'like us' and
left their own child instead. And the changeling never really finds a place
in the norms of this world". The Folgafodne glacier glowers ominously: cold,
silent symbol of human helplessness; but happy is "The boy with the
troll-treasure". How did he get it? Probably threw a knife over it; iron,
traditional defence against the supernatural, breaks charms - cast by a
powerful "Spellsong". The old harp, with bent frame of mountain birch
branches, is certainly bewitched: it talks! (An original Tveitt-tune; more
follow.) Garsvoren is the farm's resident goblin - the Scots "brownie";
forefather's spirit, overseeing his inheritance? An elusive elf, heard
hammering, or chopping wood, but rarely seen: cat-sized, shape-changing,
transparent. Helpful - if you look after the place. Garsvoren's mocking
clog-dance gives way to "The water-sprite playing", a spectral spell-song,
floating up from his lake's depths. Dusky, murky "Tussmyrkre" (Twilight) is
the best time to spot the "tusse", a capricious little imp, green-dressed,
with a bobble hat (not unlike a leprechaun); and a whizz on the tin whistle
(Tusseflyta). That eldritch effect of nature, the echo, is explained as the
"underjordiske" calling back. And to end Tveitt's supernatural suite, a
massive shattering evocation of Judgement Day itself; clangorous with
bell-sounds, and seven battering timpani. The Oskereia's final flight,
perhaps, sweeping away us all, mortal and immortal alike.
And that, he says, hand dropping orff, is just a part of the notes. The
music is even better.
See You Tamara (Ozzy Osbourne)
Ray, Taree, NSW